- Description
-
- Creator
- Francis Towne (1739 - 1816)
- Title(s)
-
- Landscape Composition
- Date
- 1793
- Medium
- Pen and black ink, watercolour
- Dimensions
-
- image height 192mm,
- image length 140mm
- Mount
- mounted by the artist, but the mount has now been destroyed
- Inscription
-
- sheet, recto, lower left
- “Francis Towne /delt. 1793”
- in black ink
- Object Type
- Watercolour
-
- Versions
- Landscape, after Francis Towne, National Gallery National Gallery of Victoria
Landscape, after Francis Towne
- Catalogue Number
- FT798
- Description Sources
- Examination; Phillips (image)
Provenance
This is probably “Mr Hughes’s charming classical composition of 1793” mentioned by Paul Oppé in the collection of Cecil Eldred Hughes of The Priory, Orpington (1875–1941). This drawing was sold at Phillips on 6 November 2000, lot 10, to Maurice Dear. It is thereafter untraced until it was offered for sale by John Spink in 2005 for £28,500.
- Associated People & Organisations
- Private Collection
- John Spink, London, 2005, GBP 28500
- Maurice Dear, 6 November 2000
- Phillips, London, 6 November 2000, lot 10
- [?] Cecil Eldred Hughes (1875 - 1941), Orpington, London
- Exhibition History
- Francis Towne and his Friends, John Spink at Colnaghi, 2005, no. 9
- Bibliography
- Paul Oppé, 'Francis Towne, Landscape Painter', The Walpole Society: London, 1920, p. 124 (?)
Other entries in Compositions and Copies, 1782–95
Francis Towne, Claude Lorrain
A Memory of Lord Ashburnham’s Claude
A Memory of Lord Ashburnham’s Claude
Francis Towne, Rosa Salvator
Study in the Style of Salvator Rosa
Study in the Style of Salvator Rosa
Francis Towne, Rosa Salvator
Study in the Style of Salvator Rosa
Study in the Style of Salvator Rosa
Francis Towne, Rosa Salvator
Study in the Style of Salvator Rosa
Study in the Style of Salvator Rosa
Footnotes
- 1 See Apollo, July 2005, p.48, fig.6.
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Comment
Two copies are known of this drawing (FT837, FT838). It is apparently Towne’s own composition, but influenced heavily by the Jabach book of etchings after the Carracci and others, and perhaps also by the work of Francesco Cozza, a follower of Domenichino.1